Full text of "Evening"
FULL SCORE
{AUTHORIZED COPYRIGHT EDITION)
Patience
OR
BUNTHORNES BRIDE
(COMIC ESTHETIC OPEBA)
Full Score, Vocal and Piano (Words ' *
and Music) .... Sullivan. $1.50
Piano-forte Solo (Opera Complete)
Tours. .50
Vocal Gems (Selection, Words and
Music) Sullivan. 25
Libretto (Words only) 25
NEW YORK
HITCHCOCK PUBLISHING HOUSE
38 JOHN STREET
M«d« m U.S. A.
Copyright, 1881, by J, M, Stoooaio i Co.
Owned hj Hitchcock Puiuihinq Co«»Aifr, New Yotfc.
$n 4irtir$j ftyit 4«d <®rtptal §w$%fi([ ®PP.
ENTITLED
PATIENCE
OR,
BUNTHORNE'S BRIDE
WRITTEN BY
W. S. GILBERT.
COMPOSED BY
ARTHUR SULLIVAN
Authors of " Trial by Jury? " The Sorcerer? " H. M.S. Pinafore?
44 The Pirates of Penzance? &c. t &c., &c.
AUTHORIZE]} COPYRIGHT EDITIONS.
LONDON.
Messrs. J. M. Stoddart & Co. have purchased from us the exclusive authority to pub-
lish our Operas, "Patience; or, JBuntfiortie's Bride," and "The Pirates of
Penzance; or. The Slave of Duty," in the United States of America. We hereby
express the earnest wish that they may suffer no invasion of their rights as the sole pub-
lishers of our works, through any attempt to put upon the market unauthorized editions.
We make this request for the following reasons: Firstly, because we are satisfied there
exists a general desire on the part of the people of both continents to come to an agree-
ment upon the question of an international copyright, affording compensation to authors in
their literary and artistic productions ; Secondly, because we are by this arrangement enabled
to secure the publication of our work under our own personal supervision; and Thirdly,
because by the present contract our publications will be wholly manufactured in the United
States, and will be sold at as low a price, with the certainty of as wide a circulation, as if
they were issued by a number of rival and unauthorized persons.
W. S. GILBERT.
ARTHUR S. SULLIVAN..
Copyright, 1881, by . M. STODDART 4 CO
;,ti
Ftrst produced at the Opera Comique, London, on Saturday, 23rd April, 1881, under tiu
management of Mr. R. D'Oyly Carte.
PATIENCE ; or, BUNTHORNE'S BRIDE.
Colonel Calverlet
Major Murgatroyd
Lieut, the Duke oe Dunstable
Reginald Bunthorne
Archibald Grosvenor
Mr. Bunthorne's Solicitor.
Chorus of Officers of Dragoon Guards.
The Lady Angela '
The Lady Saphir
The Lady Ella
The Lady Jane
Officers of Dragoon Guards.
A Fleshly Poet.
*.. An Idyllic Poet.
Rapturous Maiden*.
Patience
AND
Chorus of Rapturous Maidens.
A Dairymaid.
ACT I.— Exterior of Castle Bunthorne.
ACT II.— A cide.
CONTENTS.
ACT I.
Page
Overture 3
Chorus of Maidens. " Twenty Lovesick Maid-
ens We" 9
Solo {Angela). "Love Feeds on Hope" 11
Solo (Ella). "Go, Breaking Heart'* 12
Recitative (Patience). "Still Brooding on their
Mad Infatuation" 15
Song (Patience). "I cannot Tell what this Love
may Be 1 ' 17
Chorus Of Dragoons. "The Soldiers of our
Queen" 21
Solo (Colonel). * If you Want a Receipt for that
Popular Mystery" .... 23*
Chorus (Angela, etc.). " In a Doleful Train". . . 28
Chorus (Dragoons). " Now, is not this Ridic-
ulous ?" 29
Solo (Angela). Mystic Poet, etc 30
Solo (Bunthorne). " Though my Book 1 Seem
to Scan" 31
Paad
" Though so Excellently Wise". . 32
" When first I Put this Uniform
■ ecit. and Song 1 " Am l Alone? " «°
(Bunthorne).
Solo (Saphir).
Song (Colonel)
on".-
f "An
* G "If
Anxious for to
you re
Shine" 43
Duet (Patience and Angela). " Long Years Ago". 46*
Duet (Patience and Grosvenor) , " Prithee, Pretty
Maiden, Willow, Willow, Waly" 49
Chorus. "Let the Merry Cymbals Sound". . . . 53
Chorus (Dragoons). "Now Tell us we Pray
you" 55
Solo (Duke). " Your Maiden Hearts" 59
Solo (Patience). " If there be Pardon in your
Breast" 66
Duet (Patience and Bunthorne). "True Love
must be Single-Hearted" 69
Sextette. " I Hear the Soft Note of the Echoing
Voice" 71
j^OT XX
Page
Recit. and Song f " Sad is that Woman's Lot". . . 85
(Jane). \ " Silvered is the Raven Hair". 86
Chorus of Maidens. " Turn, oh Turn in this
Direction" 88
Song (Grosvenor). "A Magnet Hung in a Hard-
ware-Shop" 90
Song (Patience). " Love is a Plaintive Song" ... 95
Duet (Jane and Bunthorne). "So Go to Him and
Say to Him" 07
Trio (Duke, Major, and Colonel). *' It's Clear
that Mediaeval Art" 101
Quintette (Angela, Saphir, Duke, Major, and
Colonel). " If Saphir I Choose to Marry". . . 107
Duet (Bunthorne and Grosvenor). " When I Go
out of Doors" 116
Chorus of Maidens and Grosvenor. " I'm a
Waterloo-House Young Man," ett: 121
Fwale. " After much Debate Internal" 124
M r l.
■ to.
PATIENCE; OR, BUNTHORNE'S BRIDE.
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PATIENCE
BUNTHORNE'S BRIDE.
ACT I.
8cE2fE.— Exterior of Cattle Bunthorne. Entrance to castle, L. 2d E.,
by drawbridge over moat. A rocky elevation R. Young ladies
dressed in cesthetic draperies are grouped about the stage. They
play on lutes, mandolins, etc. as they sing, and all are in the
last stage of despair.
Angela, Ella, and Saphir lead them. Jane, a gaunt, form*
dable, portentous, black-haired, heavy-browed {esthete, sits gloom-
ily apart, with her back to audience, wrapt in grief.
No. i.
CHORUS OF MAIDENS.
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Ang. There is a strange magic in this love of ours. Rivals
as we all are in .the affections of our Reginald, the very hope-
lessness of our love is a bond that binds us one to another.
Saph. Jealousy is merged in misery. While he, the very
cynosure of our eyes and hearts, remains icy, insensible, what
have we to strive for?
Ella. The love of maidens is, to him, as interesting as
the taxes.
Saph. Would that it were ! He pays his taxes.
Ang. And cherishes the receipts.
Jane. (Suddenly.) Fools!
Ang. I beg your pardon ?
Jane. Fools and blind ! The man loves — wildly loves t
Ang. But whom ? None of us.
Jane. No, none of as. His weird fancy has lighted, for the
nonce, on Patience, the village milkmaid.
Saph. On Patience ? Oh, it cannot be !
Jane. Bah ! But yesterday I caught him in her dairy, eat-
ing fresh butter with a tablespoon. To-day he is not well.
Saph. But Patience boasts that she has never loved — that
love is, to her, a sealed hook. Oh, he cannot be serious.
Jane. Of this fancy he will soon weary. (Aside.) Oh,
Reginald, if you but knew what a wealth of golden love is
waiting for you, stored up in this rugged old bosom of mine, the
milkmaid's triumph would be short indeed. (All sigh wearily.)
(Patience appears <m roek. She looks dovm with pity on the de-
spondent ladies.)
•5
Nc, 3.
RECITATIVE— Patience.
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Ang. Ah, Patience, if you have never loved, you have never
known true happiness ! (All sigh, and Jane groans.)
Pat. But the truly happy seem to have so much on their
minds ! The truly happy never seem quite well.
Jane. There is a transcendentality of delirium, an acute ac-
centuation of supremest ecstasy, which the earthy might easily
mistake for indigestion. But it is not indigestion ; it is aesthetic
transfiguration! (To the others.) Enough of babble. Come!
Pat. Bui I have some news for you. The Thirty-fifth Dra-
goon Guards have halted in the village, and are even now on
their way to this very spot.
Ang. {Contemptuously.) The Thirty-fifth Dragoon Guards!
Saph. They are fleshly men, of full habit.
Ella. We care nothing for Dragoon Guards,
Pat. But, bless me, you were all in love with them a yeau
ago!
Saph. A year ago !
Ang. My poor child, you don't understand these things. A
year ago they were very well in our eyes, but since then our
tastes have been etherealized, our perceptions exalted. (To
others.) Come ! it is time to lift up our voices in morning carol
to our Reginald. Let us to his door.
( The ladies go off two and two, singing refrain of " Twenty love-
sick maidens we" and accompanying themselves on harps and
mandolins. Patience watches them in suprise, and goes off up
rock March. Enter officers of Dragoon Guards from behind
roekj led by Major. They march round stage.)
No. 3.
PlAKO.
AlUgro marmiaU.
SOI. 0— Colonel, & Chorus of Dragoons.
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Col. Well, here we are on the scene of our former triumphs.
But where's the Duke ?
{Enter Duke, listlessly and in h%e spirits,)
Duke. Here I ami (Sighs.)
Col. Come, cheer up ! don't give way !
Duke. Oh, for that, I'm as cheerful as a poor devil can be
expected to be who has the misfortune to be i duke with a
thousand a day!
Maj. Humph ! Most men would envy you !
Duke. Envy me t Tell me, Major, are you fond of candy ?
Maj. Very !
Col. We are all fond of candy.
All. We are !
Duke. Yes, and candy in moderation is a capital thing.
But to live on candy — candy for breakfast, candy for dinner,
candy for tea — to have it supposed that you care for nothing but
candy, and that you would consider yourself insulted if anything
but candy were offered to you, — how would you like thatf
Col. I can believe that, under those circumstances, even
candy would become monotonous.
Duke. For "candy" read flattery, adulation, and abject def-
erence, carried to such a pitch that I began, at last, to think that
man was born bent at an angle of forty-five degrees! Great
Heavens ! what is there to adulate in me ? Am I particularly
who
intelligent, or remarkably studious, or excruciatingly witty, or
unusually accomplished, or exceptionally virtuous?
Col. You're aoout as commonplace a young man as ever
I saw.
All. You are!
Duke. Exactly! that's it, exactly! That describes me to a
T! Thank you all very much. Well, I couldn't stand it an
longer, so I joined this regiment. In the army, thought
shall be occasionally snubbed, perhaps even bullied ;
knows? The thought was rapture, and here I am.
Col. {Looking off.) And here are the ladies !
Duke. But who is the gentleman with the long hair?
Col. I don't know.
Duke. He seems popular.
Col. He does seem popular.
(Algerkon Bunthorne enters, followed by ladies, two and two,
singing and playing on harps as before. He is reading, and
quite absorbed. He sees no one, but walks across stage, followed
by ladies.)
(They take no notice of Dragoons, to the surprise and indignatim
of those Officers.)
at)
No, 4. CHORUS, with SOLOS— Angela, Ella, & Bunthorae
Allegre tto amoroso.
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35
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Col. Angela, what is the meaning of this T
Anq. Oh, sir, leave us; our minds are but ill attuned to
tight love-talk.
Maj. But what in the world has come over jou all ?
Jane. Bunthorne; he has come over us. He has come
among us, and he has idealized us.
Duke. Has he idealized you t
Jane, He has.
Duke. Bravo, Bunthorne I
Jane. My eyes are open ; I droop despairingly ; I am soul-
fully intense ; I am limp and I cling.
(During this Bunthorne is seen in all the agonies of composition.
The ladies are watching him intently as he writhes. At last he
hits on the word he wants and writes it down* A general sense
of relief)
Bun. Finished I At last I Finished !
{He staggers, overcome with the mental strain, into arms of Col-
onel. They fan him.)
Col. Are you better now ?
Bun. Yes. Oh, it's you — I beg your pardon ; I am better
now. The poem i3 finished, and my soul had gone out into it
That was all ; it was nothing worth mentioning. — Dear Patience !
(Holds her hand ; she seems frightened.)
Anq. Will it please you read it to us, sir ? (All kneel,)
Saph. This we supplicate.
Bun. (Tenderly to Patience, whom he holds by the hand.)
Shall I ? I will read it if you bid me !
Pat. (Much frightened.) If you like.
Bun. It is a wild, weird, fleshly thing, yet very tender, very
very precious. It is called, " Oh, Hollow ! Hollow !
yearning,
Hollow I"
Pat. Is it a hunting-song T
Bun. A hunting-song? No, it is not a hunting-song. It is
the wail of the poet's heart on discovering that everything is
commonplace. To understand it, cling passionately to one an-
other and think of faint lilies I (They do so as he recites.)
OH, HOLLOW! HOLLOW! HOLLOW!
Quivering on amaranthine asphodel.
How can he paint her woes,
Knowing, as well he knows,
That all can be set right with calomel?
When from the poet's plinth
The amorous colocynth
Yearns for the aloe, faint with rapturous thrilla,
How can he hymn their throes,
Knowing, as well he knows,
That they are only uncompounded pills?
Is it, and can it be,
Nature hath this decree,
"Nothing poetic in the world shall dwell " ?
Or that in all her works
Something poetic lurks,
Even in colocynth and calomel ?
I cannot telL
Ang.
Saph.
Pat.
Saph.
All.
Col.
What time the poet hath hymned
The writhing maid, lithe-limbed,
How purely fragrant !
How earnestly precious 1
Well, it seems to me to be nonsense.
Nonsense, yes, but what precious nonsense I
Ah I
This is all very well, but you seem to forget that you
are engaged to us!
Saph. It can never be. You are not Empyrean. You are
not Delia Cruscan. You are not even Early English. Oh, be
Early English ere it is too late! (Officers look at each other in
astonishment.)
Jane. (Looking at uniform.) Red and yellow ! Primary
colors ! Oh, South Kensington I
Duke. We didn't design our uniforms, but we don't see how
they could be improved.
Jane. No, you wouldn't. Still, there is a cobwebby gray
velvet, with a tender bloom like cold gravy, which, made Flor-
entine fourteenth century, trimmed with Venetian leather and
Spanish altar-lace, and surmounted with something Japanese — it
matters not what — would at least be Early English I — Come,
maidens! (Exeunt ladies, singing refrain of " In a vtelancholy
train")
Duke. Gentlemen, this is an insult to the British uniform-
Col. A uniform that has been as successful in the courts of
Venus as on the field of Mars I
3*
Ho 5.
SONG— Colonel.
PlAMO
I
Colonel.
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first put this a - ni- form
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(I7itf Dragoons go off angrily, leaving Bunthorne on staged)
(As soon as he is alone Bunthorne changes his manner and he
comes intensely melodramatic)
No. 6.
RECITATIVE & SONG— Bunthorne.
^
RtCIT BVNTHOKMIi
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art long for all one sees That's Japanese— I am not food of uttering platitudes In stained-glass attitudes. In short, my
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com • pli • cat • ed state of mind, The
{2nd verse*) For
mean- ing does - n't mat - ter if it's on - \y i • die chat - ter of a
Art stopped short in the cul • ti - *a • ted court of the
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to/ time.
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bel'
a. Be . . .
3- Then a
c Be eloquent in praise of the very dull old days which have long since
passed away,
And convince 'em, if you can, that the reign of good Queen Anne was
Culture's palmiest day.
Of course you will pooh-pooh whatever may be fresh and new, and de-
clare it crude and mean,
For Art stopped short in the cultivated court of the Empress Josephine.
And every one will say,
As you walk your mystic way,
*■ Tf that's not good enough for him which is good enough for me,
Why what a very cultivated kind of youth this kind of youth must be I n
3 Then a sentimental passion of a vegetable fashion roust excite youi
languid spleen, [French bean !
An attachment & la Plato for a bashful young potato, or a not -too- French
Though the Philistines may jostle, you will rank as an apostle in the
high aesthetic band, [hand.
If you walk down Piccadilly with a poppy or a lily in your mediaeval
And every one will say,
As you walk your flowery way,
"If he's content with a vegetable love which would certainly not sui* mt>
Why what a most particularly pure young man this pure young man
must be ! "
45
\At the end of his song Patience enter*. He sees her.)
Bun. Ah ! Patience, come hither. I am pleased with thee.
The bitter-hearted one, who finds all else hollow, is pleased with
thee. For you are not hollow. Are you?
Pat. No, thank you, I have dined. I beg your pardon
— I interrupt you.
Bun. life is made up of interruptions. The tortured soul,
yearning for solitude, writhes under them. Oh, but my heart is
a-weary I Oh, I am a cursed thing ! Don't go.
Pat. Really, I'm very sorry —
Bun. Tell me, girl, do you ever yearn ?
Pat. (Misunderstanding him.) I earn my living.
Bun. (Impatiently.) No, no ! Do you know what it is to be
heart-hungry ? Do you know what it is to yearn for the Inde-
finable, and yet to be brought face to face daily with the mul-
tiplication-table ? Do you know what it is to seek oceans, and
to find puddles? — to long for whirlwinds, and to have to do the
best you can with the bellows ? That's my case. Oh, I am a
cursed thing 1
Pat. If you please, I don't understand you ; you frighten
me.
Bun. Don't be frightened ; it's only poetry.
Pat. If that's poetry, I don't like poetry
Bun. (Eagerly.) Don't you? — (Aside.) Can I trust her? —
(Aloud.) Patience, you don't like poetry. Well, between you
and me, I don't like poetry. Its hollow, unsubstantial, unsatis-
factory. What's the use of yearning for Elysian Fields when
you know you can't get 'em, and would only let 'em out on
building leases when you had 'em?
Pat. Sir, I—
Bun. Don't go. Patience, I have long loved you. Let me
tell you a secret. I am not as bilious as I look. If you like I
will cut my hair. There is more innocent fun within me
than a casual spectator would imagine. You have never seen
me frolicsome. Be a good girl — a very good girl — and you
shall.
Pat. Sir, I will speak plainly. In the matter of love I am
untaught ; I have never loved but my great-aunt But I am
quite certain that, under any circumstances, I couldn't possibly
love you.
Bun. Oh, you think not?
Pat. I'm quite sure of it — quite sure — quite.
Bun. (Releasing her.) Very good. Life is henceforth a blank*
I have only to ask that you will not abuse my confidence:
though you despise me, I am extremely popular with the other
young women.
Pat. I only ask that you will leave me and never renew the
subject
Bun. Certainly. Broken-hearted and desolate, I jp. W^at
is to become of me ? (Recites.)
Oh to be wafted away,
From this black Aceldama of sorrow,
Where the dust of an earthy to-day
Is the earth of a dusty to-morrow !
It is a little thing of my own. I call it " Hea^t-FoJUl/ , 1
shall not publish it Farewell 1
[Exit BUNTHOKNE.
Pat. What does it all mean? Why does he love me? Why
does he expect me to love him? He's not a relation ! It fright-
ens me!
Enter Angela.
•"Ang. Why, Patience, what is the matter?
Pat. Lady Angela, tell me two things. Firstly, what on
earth is this love that upsets everybody? and secondly, how is
it to be distinguished from insanity?
Ang. Poor blind child I Oh forgive her, Eros I Why,
love is of all passions the most essential ! It is the embodi-
ment of purity, the abstraction of refinement the idealization
of utter unselfishness 1
Pat. Love is?
Ang. Yes.
Pat. Dear me I Go on.
Ang. True love refines, purifies, elevates, exalte, and chas
tens. It is the one romantic feature in this chaos of material-
ism, it is the one unselfish emotion in this whirlpool of grasping
greed !
Pat. Oh dear ! oh ! (Beginning to cry.)
Ang. Why are you crying?
Pat. To think that I have lived all these years without hav-
ing experienced this ennobling and unselfish passion ! Why,
what a wicked girl I must be! For it is unselfish, isn't it?
Ang. Absolutely. Love that is tainted with selfishness is
no love. Oh try, try, try to love! It really isn't difficult if
you give your whole mind to it
Pat. I'll set about it at once. I won't go to bed until I'm
heaJ over ears in love with somebody.
Ang. Noble girl! But is it possible that you have never
loved anybody?
Pat. Only my great-aunt
Ang. Your great-aunt don't count
Pat. Then there's nobody. At least — No- nobody. Not
since I was a baby. But that don't count
Ang. I don't know; tell me all about it
No. 7
DUET — Patience & Angela.
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Long years a - go,
four- teen, may- be, When but a ti - ny babe of
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lit • tie child of beau • ty rare, With mar- villous eyes and won .(11001 hair,
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in my child - eyes, seem'd to me All that a lit • tie child should be I
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ANGELA*
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33
Patience.
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Pray don't mis - con - strue what I say —
Re
1
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a rJ^ 1
boy!
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mem-ber, pray, He was a tit - tie boy !
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yet spite of all your pains,
The
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(2d verse,) Time fled, and one unhappy day —
The first I'd ever known —
They took my little friend away,
Aid left me all alone.
Ah, how I sobbed ! and how I cried f
Then I fell ill and nearly died ;
And even now I weep apace
When I recall that baby face !
We had one hope — one heart — one will —
One life, in one employ ;
And, though it's immaterial, still
He was a little boy !
Ang. Ah, old, old tale of Cupid's touch, etc
Pat. Pray, don't misconstrue what I say, etc
Ang. No doubt, yet, spite of all your pains, etc.
Pat. Ah, yes, in spite of all my pains, etc.
{At end of Duet exit Angela.)
Pat. It's perfectly appalling to think of the dreadful state I
must be in ! I had no idea that love was a duty. No wonder
they all look so unhappy. Upon my word, I hardly like to as-
sociate with myself. I don't think I'm respectable. I'll go at
once and fall in love with— {Enter Grosvenor.) A stranger !
No. 8.
I
*±
DUET — Patience & Grosvenor.
Grosvenor. .
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Allegretto.
Pri-thee, pret - ty mai - den— pri-thee tell me true, (Hey but I'm dole - fill,
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GROSVENOR. rail.
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Gros. Patience ! Can it be that you don't recognize me ?
Pat. Recognize you ? No, indeed I don't !
Gros. Have fifteen years so greatly changed me ?
Pat. Fifteen years ? What do you mean ?
Gros. Have you forgotten the friend of your youth, your
Archibald, your little playfellow? Oh, Chronos, Chronos! this
is too oad of you I
Pat. Archibald ! Is it possible ? Why, let me look ! It is !
It is ! It must be ! Oh, how happy I am ! I thought we should
never meet again ! And how you've grown !
Gros. Yes, Patience, I am much taller and much stouter
than I was.
Pat. And how you've improved !
Gros. Yes, Patience, I am very beautiful ! (Sighs.)
Pat. But surely that don't make you unhappy ?
Gros. Yes, Patience. Gifted as I am with a beauty which
probably has not its rival on earth, I am, nevertheless, utterly
and completely miserable.
Pat. Oh, but why?
Gros. My child-love for you has never faded. Conceive,
then, the horror of my situation when I tell you that it is my
hideous destiny to be madly loved by every woman who sets
eyes on me!
Pat. But vhy do you make yourself so picturesque ? Why
not disguise, yourself, disfigure yourself — anything to escape this
persecution ?
Gros. No, Patience, that may not be. These gifts, irksome
as they are, were given to me for the enjoyment and delectation
of my fellow-creatures. I am a trustee for beauty, and it is
my duty to see that the conditions of my trust are faithfully
discharged.
Pat. And you too are a poet
Gros Yes, I am the Apostle of Simplicity. I am called
H Archibald the All Right "—for I am infallible.
Pat. And is it possible that you condescend to love such a
girl as I ?
Gros. Yes, Patience ; is it not strange ? I have loved you
with a Florentine fourteenth-century frenzy for full fifteen years !
Pat. Oh! marvellous! I have hitherto been deaf to the
voice of love — I seem now to know what love is. It has been
revealed to me : it is Archibald Grosvenor.
Gros. Yes, Patience, it is I (Embrace.)
(As in a trance.) We will never, never part I
We will live and die together I
I swear it !
We both swear it I (Embrace.)
(Recoiling from him.) But — Oh horror I
What's the matter ?
Pat.
Gros.
Pat.
Gros.
Pat.
Gros.
Pat.
A source of endless ecstasy
Why, you are perfection !
to all who know you I
Gros. I know I am. Well?
Pat. Then, bless my heart ! there can be nothing unselfish
in loving you !
Gros. Merciful powers ! I never thought of that.
Pat. To monopolize those features on which all women love
to linger !
Gros. Too true ! Oh, fatal perfection ! again you interpose
between me and my happiness !
Pat. Oh, if you were but a thought less beautiful than you are!
Gros. Would that I were I but candor compels me to admil
that I'm not.
Pat. Our duty is clear ; we must part, and for ever !
Gros. Oh, misery ! And yet I cauuot question the pro
priety of your decision. Farewell, Patience !
Pat, Farewell, Archibald ! But stay !
Gros. Yes, Patience?
Pat. Although I may not love you — for you are perfect—
there is nothing to prevent your loving me. I am plain, homely
unattractive.
Gros. Why, that's true.
Pat. The love of such a man as you for such « girl as I muse
be unselfish !
Gros. Unselfishness itself I
(Exeunt despairingly in opposite directions.')
(Enter Bunthorne, crowned with roses and hung about with gar-
lands, and looking very miserable. He is led by Angela and
Saphir (each of whom holds an end of the rose-garland by which
he is bound), and followed by a procession of maidens. They
are dancing classically, and playing on cymbals, double pipes,
and other archaic instruments.)
FINALE— ACT I.
t AUcentto moderate*
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{Enter Dragoons, led by Colonel, Major, and Duke. They
are surprised at proceedings,)
l. 0L D Allegro alia marcia.
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Oh
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Of lite sa - cri - fi - cial, By sen - tence ju - di - rial. This seems the
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Solo. Colonel.
why doot you run? They can • not have led you To hang or be -head you, Nor may they ail wed you, Un
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b it you've done ?
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Chorus or Dragoons*
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he* - ven's bless • ing on his so - li - a - tor !
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Allegro.
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we im - plore
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Your mai • deo beam, ah, do not iteel To
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r " ''/
5 g g t*
all kneel f)
Bri • Uah sol - dier bend the knee,
Yet, one and all, they kneel to ye — (Kneel, kneel,
■ fa J TV
Our
Es3
3=3t
fe^bjl-f^-
f=£
^=5
P
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^
-yyg — p-
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n • • •
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^
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tz=*t
3z=*=
^
-* — *-• — m-
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I
sol-diets re ry sel-dom cry, And yet — I need no. tell you why — A tear-drop dews each mar -rial eye I
J
pj > r
32
-frl
~ S
3
Kill
?^^
5=c
i
1
(aside. They all weep.)
^F^
(Weep,
weep.
I
all weep I)
Chorus of Maidens.
it
s
P *
* —
Our
Chorus of Dragoons, cres.
sol - diers ve
sel - dom cry
m
And
* m
-t«-j-
SE
-H» 10 »—
-v — s» — r-
sol - diers ve
^
We
I ] J
H-2— 3-
-* — t? — 1 —
17 sel - dom cry And
"5- g g * J ■-
£3^
£
gs-'hr
i
l » -'
be
i
Wt
*
c 1 c
i
SFF
■M
yet — they need not tell
yet — we need not tell
3E
— m—
us
-Mr-
you
s
g
why —
why—
-V
I
A
tear - drop dews
3l
I
dewi
1—
1 —
tear
each man - ly
each
eye !
32:
eye I
W
3
^S
=r
■W^-
^ f
^:
-»• — - :
61
&
£
i f 5 1
5=3=
w
Weep,
weep,
all weep !
P
fe*
w
^=^
Weep, weep.
all weep I
Bunthorne («Ao hat been impatient during this appeal
so
t=^
i
M
*W=
¥
6
al
eye I
P
AlUgr* vivace.
m
W
iiii'iii i
p
^ .
p'ttacc.
3
^
S
H
i S i
=zar
16*
1
SOLO. BUNTHORNB.
K h
f *
* r
^ *
j j
*« — p — *■ — *-
U 5 U :g
Come walk up, and pur - chase with a • vi - di - ty,
O • ver - come your dif - 6 - dence and
¥=*
J J-
y ± g 5 =^
^
=5=
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3
^
S
3
i
h r»
S N S
S K N M -
m
^
« / - d
J J
J J J =2
^
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na-tu-ral ti-mi-di-ty, Tic - keta for the raf - fle should be pur • shased with a - n - di - ty,
i
l^f
=T
* 2
£S
^
3
^
I
^
fS K K K K K K
^^
^^
* f
^ J i d
* * \*
ftit Id half a gui - nea and
has - band you may gain —
Such a nidge of blue - and • white, and
^
i i
a J J
~3*~
**
^
^
~*=
^
62
^^
■fc K
f
^
h ■ J -— - - d -^ ^ ^ J
4t=&
J J
£
o - the* kind* of pot - te - ry— From ear - ly O
• en - tal, down to mo - dern ter - ra - sot-to* ry —
PS^i
m
m
*=$
^
fa
I
S=f*
J *
K *
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^^
3t=t
5=E
l<r ^
Pat hi half a gui - nea — you may draw him in a lot - te - ry — Such an op - por - to - ni • ty may
m
4 'A. A
T
M
3
m
s
$
1
K Chorus of Maidens.
K K " N :
m
K K s =rs
ft
d
d J d
not oc * cur a - gain.
I
Such a judge of blue - and- white, and o - ther kinds of pot - te - ry — From
K
mm
x
I i j
-m> -«■ -m-
W=¥
^F
A X
piu f~
&
iS N i s S S k K k
h s
^^
£
j J J
* r
qs=S=
-V H* » ;jj-
rl - en - tal, down to mo - dera ter - ra - cot • ta • ry. Put in half a gui - nea — vou may
ear - ly O
m
i i j
y=$
=*
*
? t~*
draw him j a lot * te - ry— Such
op • por - to - ni - ty may not oc • cw a • gain.
m
m
i
m
i
*
*
^iif»iii«»w crwd fcp to purchase tickets, /hiring this Dragoon*
dance in angle file rwmd stage to erpre** thenar r/hdiffervnev.)
63
m
Chorus or Dragoons. * Basses and Tenors.
m
5feE3EiSt
£
We've been thrown o - ver, we're a • ware, Bnt we don't care— Bnt
) y "J vi i'i J.-J r i -S- J- -3- ' -J- -3- J. -3- ' 5 J Fig
J. v J. :
J J. J
^
{During this the girls have been buying tickets. At last Jaue
presents herself. Bunthorne looks at her with aversion.)
-* -2
i
^
p=z
|* | P*i | J K K }» K | | -h i „
J J J :^ J J J J ^^ EJ^-J 5
*:
i* i * p
^ p.
5
p *
3*=*
we don't care 1 There's fish in the sea, no doubt of it, As good
e - ver came out of it,
1
-* * — ^ — * * j
^szrf
3c=t
S^f
i=*
3&QE
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hij j* j
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5
^
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~* *~
J ii 3
1
y
jl
And tome day we shall get
#^#
4-
^^
our share.
* S- E
i
3 tf
^^
* p
p I p
-d *
r» i
Si
3
1
?
^
I is -
3=3
z=r
~=t -4 ' *
^ p-
iTi ^
-p w
-=t — =r
I
3:
M
b M *| i * :
1
So we don't care — so we don't care I
0b 1111
I h i
m
*r*r
^*-^%-
-*-■*-
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-=H--t
-m ! r
-p * — * #
■* -3:
F^
-* — w-
04
Rbcit. Bunthormb.
ifefe
El
Jakx. (Surprised.)
P=&
R=
9 r f h
^
F ^
m
-b s s
K
» » *
m
And are ^w* go - ing
tic * ket for to bay ? Most cer - tain - ly I am;
1
a r -
is*
=55=
P
b^
1 (* -
it
=»:
i3=
^
111
BUNTHORNE. (4*lde.)
■3*
(4W.)
hr
3=
3
^
E -
rS
»
=1*
b? b*
why should not I?
OK, For - tone,
thU is hard!
Blind - fold your eyes ;
\$
fe
53:
~^&-
A tempo moderate.
Sea
as
-nf-
**
■»
£
i
*
^
Bl
I
Chorus of Maidens. (Gir& blindfold themselves.)
=P
i* f B *— F
£
££=
5fc
g=a
3K
*=K
*
=5
U L- "U U
-* — *-
\$
Two min-ntes will de - tide who wins the prize! * Oh, For ■ tune,
, N Andante affetuoso.
to my ach - ing heart be
£
3=a=
*EE
3
:+=x
=p=t
*CS
fr S^ *
g «i — *— * — * — m— ■ « — « — « — « — *— ' « — • — m — * — m-
,-*- J; J: J: Jt * ***^;* * * * **
P=fc
5E
P
£
3
^
s
fc=
^=#-
=P2=
fi^
J *
=5*
kind;
fft^p
Like
thou art blind - fold - ed, but not blind 1
1 h r
=5=^
3=P
I 1
-H 1 1 U-
3» fl» « fr g»
■*- -3- ■*■ •*■
< 1 '
» » 5»
y
■y
* * ^: * *
@S
i
JW-« l
=r
(.E&cA uncovers <m« eye.)
=t=
1 — 1* —
-* N-
=e=
-- — f, — ^— -*
,- i* 1 s
= 3 sz
— V-
yp * —
Jut
Aft 1
«uiae your ban - dage,
thus,
-3— J * *-
that you may
=^7"3
•ee,
11 J J — *-
And gire the
-1 1 m~
prise, and
give
the
1 V
W?.»b j
s. — * — s — *-
r r r r
l=?2=
1
, — 1-
1
"1
J.
|
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1
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u_
— F
|w[> » g^ — *-
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m •
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^
— t
05
O {They cover their eye* v^ain.)
BUNTHORNE.
Jane. {Joyfully.)
P
Bunthorne. {Aside.)
Si
Recit. Patience.
b V r t l* 1 ^*
6*E
3=
^
b* ^ '
Hold t stay your hand !
I want to know the worst !
Q Allegro, vivace,
a tempo.
Chorus or Maidens. .(Uncovering their eyes.)
! r j i j i j i ' j i ! i i i j I
-*- £+ -+--*■ +uf ♦V ♦ Iftr -*-*--*■-»- -*V
s
6b
Jane.
m r r
F ' #
E
3t
and to your
1
pray you make a clear - ance 1
A - way with you, a - way with you.
F£
3z=t
3Z=fc
pray you make a clear - ance !
Bun. (Suddenly.)
Patience, kneeling to Bunthorne.
I
a
i
*c
I i
*
thought op - prest, Sia - cere - ly doth re - pent
If
~$r* — S-
you, with one so low - ly, still De -
Tsl — K
m
5
"#" "#■ TT "*"
m — ■!-
w; ! ' i
S
^
^=^=
-rr
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^
-P --
"V-r
v
i
s
^^
^
<**/#.
E
^=
m
^m
^
* r
to be
lied,
Then
you may take me, if you will, For I will be your
i
=£=i=
y ii j 1 i ' -yj 1 j» t.t 1 !
^=^
35:
^=
"^
b^t
^
IE
zzar
^
5^3EE~
5 2^
07
wing,
f ff^ffTTf-r.-r, Mtt?1^=z
A - way yon ran — Go, take your
S2=^
? ^ J
2=:
4^.
^Uj.
fr J. I
i -n *-
I r^
S
feg;
s
SZI
f
I I
r
**
P
M hi J
i
i
UNTHORNC
Sh
j r ■ -
=B*=
wing, Yon shame • lea one t Yon
.*. i* .*- * ^. >?r
bold - feed
thing I
How
wing, Yon ahame - lea
one ! Yon bold - faced thing t
68
$
SE
^
strong
is love !
^
^^
3=
3a:
I
For many and many a week,
She's lov'd
S y a g 5 *— t= g g g g 'u«L -a . »L jL 1 g F « 3 ' fl#— S i -3=
* *-•#
s
-*-4-
r i -t
-fr-U
J M-1- J Hi-
zJH^
Jj J'j
v w
A 1 !
^
^
s
3
^
^
ffi
food - ly and has feared
1
to speak. But Na - tore, for re • straint too
4-
^s
I
^
i
ft J i _M i J*
=S=3t
1 »
I
3^§=
*=*
i 4 3£~* 4 i •£ -*
gfrt -I 1
J.4M..T
i^j i jijj^ i j ijj iji
^
5= =5=
33
t=3=
*— ^
3=
-=t 3r^r
fe
u
$■=
arf/tf.
i * t *
H=E
r i »
-J — J =z=2
x
-j uj ^-^
Has burst the bonds of
u
migh
far,
Art—
And here we
jy i j fr -fr-fr fr' j fr -frfr fr l tf fr
^
S^^
^9F
"pit*
51=6=1
(%J H^-Tf--r- = ?f : ff
-p— 1»
fe:
/,
S
"1 I ' -=H-
j r
U* 'I
1
I
Regit. Patience.
s
^
1+ -
=£2=
p
^
=5
k i/
u^ — I
No, Mis - ter Bun • thorne, no—
yon re wrong
gam,
Pet
as
I • mi
! > r f <*■
tz=tc
1
mit me— 111 en • dea - tout to ex - plain !
69
9
V Patiuck.
&&
^
J I, J s J l
-r
1 e 5
*
*=*±=?
s
*
Tnie loTe must, lin - gie-heart - ed be —
BUNTHORNE.
From er - 'ry sei - fish fan • cy free —
WEl
±3=m
Ex * act - ly so I
Ex - act - ly so 1
i
V Andante.
»)»m "
S
r J
:*ȣ:
H*
Pi ter, «| r j:
i
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1
4 »
' 3 " I
9=
=5=
f> J JJfFliJrQj tJU r? J - J '^^
3?=*:
&
3=p:
=£=£
No 1 - die thought of gain or joy, A mai - den's fan - cy should em - ploy — True love must be with-out al ■
m
! r !
^=p=
+—*
5
=S?
3©=
Tt_j£.
^ S^-
S£
^
=st
^■F* 1
?=
i^^
w
) * 1 « >
£fc
S
W^
W I a)
tt
loy,
S
True
love most be with - oct al - loy.
Men.
Im - pos - lure to con - tempt must
^• J g ' S *—7
Ex - act - ly so I
w
A J-J i
lO?
^
frsHn
^g-
^ f
dim.
p
ffi
^
-S* a-
— 4
J , J
70
$\X -
(«
— f—
-7- J* hi* - ■ J
F^
i*
«-■'%"-
w* r
iead-
Colonel.
~f ^ -r "
— I—
(*
1
Blind
— ^ —
▼a -
g IK u L
ni - ty*s dis - sen - sioft's
seed—
Major.
J
-J J^:
it
*-
^b» i —
Jt\X r
U g
Ex • ac* -
4—
-J —
«o —
— f-
p
h
Bf
1 lr '
Ex - ac
H-X-
t •
^ 1
ry so—
r " — ■ -
i i
Mi,t> J
— 1—
1
=s=
, — u
*
L J
1 .*
F
' r ■ • a —
I J
F
f—
_j* :
^ft Ji
-^-
1 —
1 L
:* '
— 1 r
L — *
«
J.
r - ■
M j J> r^
as
J. ji jtj
(indicating Bunthorne)
*****
=£
^^
fcl . iows then,
UJ LJ* * * * 1 ■ ^
den who De - votes her - self
to
lOT
ing jf<w
1
£fc=F
^
y
*m
^
_ ^"
^iT
ggN
i
z£&
#
3=
^"
El
^^s
^
$£=*
ga=E
£
z=fiz
^ *■ «
promp - ted by no sel - fish view !
promp-ted by no sel - fish view I
Men. _
s
Sfcfe
=f*
*=p=
=35=
Ex - act - ly so—
I Q-N J =fc
f
p-ta
dim.
t
^
#
^=^ :
WP=
-* ~:
YSaph. {Taking Bunthorne aside.)
K S N S K £
m
Angela,
r* r» r* r* J* r»
i z» » ^ * ^~
Bun. (Embraces Patience.)
I
m
l£
J J J
acrst
fe
* * s s
1 " ^ r ^ i
_^ — *_
3 s
Are you re - solv'd to wed this shame - less one ?
Is there no chance for a - ny o - ther ? None I
m
n
*&
Si
=22 _
Z2SZ
IEC
P
(Angela, Saphir, and Ella taifee Colonel, Du ke, and Majob
dc*cn* while girk gam fondly at other Officer*,}
con moto.
71
JliJiiiT]
i
Ella.
T? f 1 1 ^ p-
I hear the soft note of the
Saphir.
$
echo
ing voice Of an
¥=e
=f
4-
. m
$
I hear the soft note
Angela.
of the echo
ing voice Of an
H=
:*=*:
4-
-~ ~ 9 ^-
cho - ing voice Of an
I hear the soft note
Duke.
p j 1 * N J h
of the
5
I hear the soft note
Major.
of the echo - . ing voice Of an
32^
T
=P
*=3t
J J
S
I hear the soft note
Colonel,
of the
echo
ing voice Of an
33E
m * -
r r
^t=£
-F-
k U>
IP
f
d=z
ZE±-
P
3=3=
=^
hear the soft note of the
-f 2
cho - ing voice Of ao
-GJ-
-f=
7*
m
r J
j t .
3^
H (■
shed-
I
The pain that is
all
but
plea - sure will change
For the pie
cres.
sure that's all
bat
m
-P
-J J
r *
=p5=St
=s*=
that is
a
~* 9
sure will change
shed —
$
The
pain
aU
— 9—
bnt
plea -
For the pie
cres.
sore that's all
fr s.
bat
3
3Z
ft*— n*
;'s all
shed-
$
The pain that is
all
bat a plea • sure will change
For the piea
cres.
surt that 1
bnt
m
^¥=^
^
=ff==ff
it
-V *-
For the plea
cres.
shed —
The pain that
all
but
plea • sure will change
sure that's all
=£=F
£=£
bnt
that is
all
bnt a plea • sure will change
^
For the plea
cres.
sure that's all
but
J r~J I
-J — J-
£
=t
shed—
The
1
J J J
pain
that is all but a plea - sure will change For the plea - sure that's all
but
5
m
pain,
dim
W
-i—
old
pain,
And
ver, oh nc - ver, this heart will range
From that
dim.
old
love
m
=ZZ
£
P
And
ne - ver, oh ne - ver, this heart will range
From that
dim.
old
old love
s
m
ggj
?
=8=
ptm,
I
And
▼er, oh
ver, this
heart
— W *—
will range
From that
dim.
old
did
love
=£2=
?
^
I
And
ne - ver, oh
ver, this heart will range
From that
dim.
old
— U
old
love
-* * * #
ne • ver, oh ne
"* *H
ver, this
heart
pain,
Mstt J
And
will range
^
From that
dim.
old
old
love
^
^^
And
ne - ver, oh ne • ver, this heart will range From that
~m 3-
f dim.
3
-45h-
g
old
3=
old
love
i
gain I
gain I
gain 1
gain I
gain!
Yes, the pain that is all bat a plea - rare will change For the plea - sure that's all but pain,
P Crts.
-m w w— ' — " ■*-
Yes, the pain that is all bnt a plea * sure will change For the plea - sure that's all but pain,
P , cres.
Yes, the pain that is all but a plea - sure will change For the plea - sure that's all but
P
-9-
pain,
Yes, the pain that is all but a plea- sure will change For the
plea - sure that's all but pain,
M
^
Yes, the pain that is all but a plea - sure will change For the plea - sure that's all but pain,
P cres.
And
And
/
And
/
And
And
^^; g 1 j 1 j , j ^
i* *
cere
^
- gain 1
Chorus. £
Yes, the pain that is all but . a plea - sure will change For the plea - sure that's ail but pain,
And
£1
•j j 1,1 it t , j^ j j j jjjp 1 1 j j| j 1 H
Yes, the pain tha* is all but a plea - sure will change For the
P_ ere*.
' C j r £ g ^ r r 1 f r r* * *
\ m r r 1 r f ; r i ni ^m
plea - sure that's all but
pain.
And
m
u u
^
Yes, the pain that is all but a plea * sure will change For the plea - sure that's all but pain, Aad
* ver our hearts will range From that old old love
a - gain ! Oh ne - ver, oh
c
74
i
ne
- ver this heart, our hearts will range From that old
gain !
nj - ver our hearts, oh ne - ver oar hearts will range From that old old
gain!
QGirh embrace Officer*)
75
(As the Dragoons and Girls are embracing enter Grosvenor,
reading. He takes no notice of them, but comes sleivly down, still
reading. The girls are all strangely fascinated by Aim, and grad-
ually withdraw from Hussars.)
s JiJ]iUi JT[
r • r-^
IJp» - H
E Angela.
I
,
11/O.TJi
| J
But who
— I—
is
— U —
-*■ •
this,
> J
whose god
1-
- like
1
m —
i i
-*■
grace
4 d J '
Pro - claims he
1— s — it— 1 —
1
f^=
-d i
— $* yW
■P t j ^
pa a 1
«g • —
— U
J
?4 *. i ■-
1
h^-
ST*
1
1 rs-
^J.
j.
L. ^_,
=J
-1 1 r*^
i
^
^
JC
ffi
*t
*
5*:
— * — ** — ^
comes of no - ble race? And who is this whose man - ly face Bears aor - row's
m
i
fe=^
tv.
4 J^
1
-T^.
id.
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> VKJ-IJJV 1 JJ'J' l JJV ' ^
Grosyenor.
Vivace.
_ Q a tempo.
iEs - the - tic I
He is aes - the-tic !
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tr
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lore
yon !
{The girls leave Dragoons, and group, kneeling, around Gb06VB-
nob. Fury of Bunthorne, who recognises a rival)
H a tempo.
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They love him !
Hoi - ror !
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Ella.
that's all
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Saphir.
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Jane.
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Duke.
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Chorus. Sopranos and Contraltos.
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Colonel & Major.
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p j i j ij i ,]. J J: M J fj J r,MJ J i t J. J] an
do not close To blight • ed love's dis • tract - ing woes I To blight - ed lev's dis - tract • ing woes, its
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yon, I shall love. Your ea rs, ah, do
i
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fK -i-terous? A thorough -pae'dab-sur-di-tj, explain it if you can, ex • plain, ex - plain it
von can,
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A
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End of Act l
ACT II.
Scene. — A gtade. A small sheet of water, C. Jane is discov-
ered leaning on a huge double bass, upon which she presently oc-
companies herself.
Jane. The fickle crew have deserted Reginald and transferred
their allegiance to his rival, and all, forsooth ! because he has
glanced with passing favor on a puling milkmaid ! Fools ! Of
that fancy he will soon weary, and then I, who alone am faithful
to him, shall reap my reward. But do not dally too long, Regi-
nald, for I am ripe, Reginald, and already I am decaying. Bet-
ter secure me ere I have gone too far I
No. i. ACT II. RECITATIVE & SONG— Jane
Moderato.
I
EBE
"gy
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Piano.
/
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.rm
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33
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ES
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Recit. Jane,
K=KZRr^:
J ^J.JJJjg B
**:
3=3:
Sad is that woman's lot who, year by year,
Sees, one by one, her beauties dis - ap-pear ;
1^
fcfi ;J: marcato*
p
2
fct
7T.T I TTf^ji
i
k=
3
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When Time,grown weary of her heart-drawn sighs, Im - pa - tient-ly be-gins to "dimher eyes I
8s
86
I
^
|T ltlrr r irrrl fS
'combings/
> L*
* I* - h-
Re -duced, with rouge, lip-salve, and pear-ly grey,
To "make up "for lost
I
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Halt • is the youth • fill gait Hoi • low is the laugh • ter free, Spec* ta - cled the Urn - pid eye.
1
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me, In the com - ing bye and bye!
Lit - tie will be left of me. In the
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Fad -ing it the ta - per waist — Shape- less grows the shape - ly limb, And tl - though se - cure - ly laced,
1
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Spread-lng is the fi - gore trim 1 Stout - er than I used to be,
Still more cor - pu - lent grow I —
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There will be too much of me In the com - ing bye and bye !
There will be too much of me In the
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(Enter Grosvenor, followed by maidens, two a>.^t two, each playing
on an archaic instrument, as in Act I. He xs reading abstract-
edly, as Bunthorne did in Act I f and pays no attention to them.
He sit* R. C.)
No. 2.
CHORUS OF MAIDENS
Andante.
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Tom, oh tarn in this di - rec - tion, Shed, oh shed a gen-tle smile ; With ft glance of sad per -
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fee - tion, Our poor faint • ing hearts be - guile !
On such eyes
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— i 1 1 1 1 1 1 1 1 i (—
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Gros. {Aside.) The old, old tale! How rapturously these
maidens love me, and how hopelessly! Oh, Patience, Patience!
with the love of thee in my heart what have I for these poor
mad maidens but an unvalued pity? Alas! they will die of
hopeless love for me, as I shall die of hopeless love for thee !
Ano. Sir, will it please you to read to us ? (Kneels.)
(Sighing.) Yes, child, if you will. What shall I
Gros.
read?
Ano.
Gros.
Better not, my child. They
read us a poem of his own
One of your own poems.
One of my own poems ?
will not cure thee of thy love.
Ella. Mr. Bunthorne used to
every day.
Saph, And, to do him justice, he read them extremely well.
Gros. Oh, did he so? Well, who am I that I should take
upon myself to withhold my gifts from you ? What am I but a
trustee? Here is a decalet — a pure and simple thing, a very
daisy ; a babe might understand it. To appreciate it, it is not
necessary to think of anything at all !
Ano. Let us think of nothing at all,
Grosvenor recites.
Gentle Jane was as good as gold ;
She always did as she was told ;
She never spoke when her mouth was full,
Or caught blue-bottles their legs to pull,
Or spilt plum jam on her nice new frock,
Or put white mice in the eight-day clock,
Or vivisected her last new doll,
Or fostered a passion for alcohol ;
And when she grew up she was given in marriage
To a first-class earl who keeps his carriage.
Gros. I believe I am right in saying that there is not one
word in that decalet which is calculated jo bring the blush of
shame to the cheek of modesty.
Ang. Not one ; it is purity itself.
Gros. Here's another.
Teasing Tom was a very bad bov ;
A great big squirt was his favorite tov •
He put live shrimps in his father's boots,
And sewed up the sleeves of his Sunday suits;
He punched his poor little sisters' heads,
And cayenne-peppered their four-post beds ;
He plastered their hair with cobbler's wax,
And dropped hot halfpennies down their backs.
The consequence was he was lost totally,
And married a girl in the corps de bally !
Ang. Marked you how grandly, how relentlessly, the damn-
ing catalogue of crime strode on, till Retribution, like a poised
hawk, came swooping down upon the Wrong-doer? Oh, it was
terrible !
Gros. (Aside.) This is simply cloying. — (Aloud.) Ladies,
I am sorry to appear ungallant, hut you have been following me
about ever since Monday, and this is Saturday. I should like
the usual half-holiday, and if you will kindly allow me to close
early to-day, I shall take it as a personal favor.
Ella, Sir, you are indeed a poet, for you touch our hearts
and they go out to you.
Gros. (Aside.) Poor, poor girls! — (Aloud.) It is best to
speak plainly. I know that I am loved by you, but I never
can love you in return, for my heart is fixed elsewhere ! Re-
member the fable of the Magnet and the Churu!
Ang. ( Wildly.) But we don't know the fable of the Mag-
net and the Churn!
Gros. Don't you? Then I will sing it to you.
90
SONG— The Magnet and Churn.
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tcis-sorsand nee - dies, nails and knives,
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93
K f 'K 35
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(2%€y #o off as in Act I., singing " In a melancholy train"
etc., and gazing back at him from time to time.)
94
Gros. At last they mre gone ! What is this mysterious fas- (Enter Bunthorne, followed by Jane. He is woody and pr»
oination that I seem to exercise over all I come across ? A curse occupied. Jane rings.)
on my fatal beauty, for I am sick of conquests !
(Patience appears L.^ In a doleful train,
rr One and one, I walk all day ;
Pat. Archibald ! Pity those who love in vain —
Gros. (Turns and sees her.) Patience ! None so sorrowful as they
Pat. I have escaped with difficulty from my Reginald. I Who can only sigh and say,
wanted to see you so much, that T might ask you if you still love Woe is me, alackadav *
me as fondly as ever !
Gros. Love you ? If the devotion of a lifetime — (Seizes .
her hand.) -Bus. (Seeing Patience.) Crying, eh ? What are you cry-
Pat. (Indignantly.) Hold! Unhand me, or I scream! (He ing about?
releases her.) If you are a gentleman, pray remember that I Pat - I' ve onlv been thinking how dearly I love yo
am another's!— (Very tenderly.) But you do love me, don't 5 UN ' Love me! Bah!
you y Jane. Love him ! Bah !
Gros. Madly ! hopelessly ! despairingly ! BuN - (T° Jane.) Don't you interfere
Pat. That's right ! I never can be yours, but that's right ! £ ANE \ ~ H . e alwa ys crushes me !
Gros. And you love this Bunthorne? Fat - {Going to him.) What is the matter, dear Reginald?
Pat. With a heart-whole ecstasy that withers, and scorches, If vou nave anv sorrow, tell it to me, that I may share it with
and burns, and stings I— (Sadly.) It is my duty. 7°*- (%«*?•) r It is my duty !
Gros. Admirable girl ? But you are not happy with him ? £™- (Snappuhly.) Whom were you talking with just now ?
Pat. Happy ? I am miserable beyond description ! £ AT - , With dear Archibald.
Gros. That's right! I never can be yours, but that's right! Bra. (Furiously.) With dear Archibald ! Upon my honor,
Pat. But go now ; I see dear Reginald approaching. Fare- t^is is too much 1
well, dear Archibald. I cannot tell you how happy it has made £ ANE \ , A SF, eat d ® al to ? ""}<* !
me to know that you still love me. Bun. (Angrily to Jane.) Do be quiet !
Gros. Ah, if I only dared— (Advances toward her.) £ ANE - Crushed again I
Pat. Sir ! this language to one who is promised to another ! Fat - l ™ w * he * the noblest, purest, and most perfect
—(Tenderly.) Oh, Archibald, think of me sometimes, for my being I have ever met. But I don't love him. It is true that
heart is breaking! He is so unkind to me, and you would be so **& devotedly attached to me, but indeed I don't love Aim.
loving! Whenever he gets affectionate I scream. It is my duty!
Gros. Loving — (Advances toward her.) (Sighing.)
Pat. Advance one step, and, as I am a good and pure Bun. I dare say! ( Turns away to Jane.)
woman, I scream I— (Tenderly.) Farewell, Archibald!— (Sternly.) £ ANE - So do I ! I dare say !
Stop there!— (Tenderly.) Think of me sometimes \— (Angrily.) £ AT - Why, how could I love him and love you too?
Advance at your peril i Once more, adieu ! Bun. ^T 6 me i beheve 7 0U know what love M !
Pat. (Sighing.) Yes I do. There was a happy time when I
(Grosvenor sighs, gazes sorrowfully at her, sighs deeply, and didn't, but a bitter experience has taught me.
exit. She bursts into tears and weeps on rock.\
95
*lo. 4.
SONG — Patience.
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2. Ren • der - ing good
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maid,
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Tell - ing a tale of wrong,
Yield -ing your own telf - will,
Tell- ing of hope be - tray'd.
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Love
Love
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That is the love that's true 1 .
Love that no wrong can cure,
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love, . . ,
the love . . . that's true !
(Exit Patience, weeping,)
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Buk. Everything has gone wrong with me since that idyl- Bun. Do let a fellcw soliloquize ! The damorels uted to
idiot came here. Before that I was admired — I may say, follow me wherever I went; now they all follow him*
loved. Jane. Not all ! I am still faithfal to you.
Jane. Too mild. Adortdt Bun. Yes, and a pretty damozel you are!
Jane. Wo, not pretty — massive Cheer up! I will never Bun. (Savagely.) No, but I am for theirs. But I can be a*
teave you, I swear itl mild as he. If they want insipidity, they shall have it. I'll
Bun. Oh, thank you! I know what it is ; it's his confounded meet this fellow on his own ground, and beat him on it.
mildness. They find me too highly spiced, if you please ! And Jane. You shall ; and I will help you.
qo doubt I am highly spiced. Bun. You will* Jane, there's a good deal of good in you
Jane. Not for my tastf after alL
No. 5.
I
Allegro vivace.
1 — 1 — f^-t—
DUET — Jane & Bunthorne.
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2nd verse. Jane.
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de • al of the mor • bid young ea • the - ti • cal — To doabt my in - spi - ra ■ tion was re - ga/d - ea as Se
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day to you " — and that's what you should say 1
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say !
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Sing M Hey to you — good day to you" — Sing
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'Booh fc> yea — pooh, pooh
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too
pi e JJ'.'U. J^'fi l fl 1 B
3==3C
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i
Bab to yon— ha I ha! to yon," Sing " Bab to yon "—And that's what yon ahoold say! "Bah
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1
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pooh,
Bah,"
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And that's what I shall say!
"Booh,
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And
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booh," And
that's what I shall say! "Bah,
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And
1 —
that's what I shall
/! *ni? *n/i *
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■ay!
P
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{Exeunt Jane ana? Bunthorne together.)
say !
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{Enter Duke, Colonel, and Major. They have pbaadoi+jd constrained, and angular attitudes — a grotesque exaggeration (4
their uniforms, and are dressed and made up in imitation of the attitudes adopted by Bunthorne and the Young Ladies t*
aesthetics. They have long hair, and other outward signs of Act I.)
attachment to the Brotherhood. As they sing they walk in stiff,
No 6. TRIO-
Andante.
-Duke, Major, & Colonel.
Am J q J ^ S
Fl J q J J q !
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Piano.
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Duke.
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Major.
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Colonel.
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To charm and please its
i
clear that me
di
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clear that
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its test.
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clear that me - di - a - vaJ art
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re- tains its zest,
To charm and please
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we've done our Kt
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We're not
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do
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to - tees we've done
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We're not quite sure if all we do has the
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ly Eng - lish ring ; But,
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as we can judge, it's some - thing like this sort of
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You hold your-self like that,
By
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You hold your-self like this, You hold yom -*elf like that. By
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thing :
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col - lect,
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a part
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High Art,
will
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will
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this
is not ex • act • ly right, we hope you won't up - braid ;
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True views on Me
P
the
tic tastes like trou - sere, re*
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> the - tic tastes like trou - sers, rea - dy made
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on Me
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di
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Time
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lone
&
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will bring, Bat, as
far
as we can judge, it's wme - thing like
this
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of
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IS
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a - lone will bring,
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far
as we can judge, it's some - thing like
this
of
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Time a - lone will bring,
But,
far
as we can judge, it's some - thing like this sort
of
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thing :
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You hold your • self like that,
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thing :
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Yon hold your -self like that,
Br
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You hold your - self like that,
Si
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hook
and crook
you try
to look
both an
gu - lar
and flat.
To cul
ti - vate
the
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hook and crook you try
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hook and crook you try to look both an
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$
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trin,
Ri - gid - i - ty of limb,
You ought to get a Mai - io • nette, and
m
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1 i | gs | gg q j
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trim,
Ri - gid
i - ty of limb,
You ought to get a Mar
io - nette, and
PF?
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trim,
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a Mar
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form your style on him.
(attitude).
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5
form your style on
M h a * 5 j El i
form your style on him.
I j j J 1 J l
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sempre p
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Ool. {attitude). Yes, it's quite clear that our only chance of
making a lasting impression ^n these young ladies is to become
as aesthetic as they are.
Max (attitude). No doubt. The only question is how far
we've succeeded in doing so. I don't know why, but I've an
idea that this is not quite right.
Duke (attitude?). I don't like it ; I never did. I don't see
what it means. I do it, but I don't like it.
Col. My good friend, the question is not whether we like it,
but whether they do. They understand these things ; we don't.
Now, I shouldn t be surprised if this is effective enough — at a
distance.
Maj. I can't help thinking we're a little stiff at it. It would
be extremely awkward if we were to be " struck " so !
Col. I don't think we shall be struck so. Perhaps we're a
little awkward at first, but everything must have a beginning.
Oh, here they come ! 'Tendon !
{They strike fresh attitudes in a group as Ang. and Saphir enter.)
Ang. (Seeing them.) Oh, Saphir, see! see! The immortal
fire has descended on them, and they are of the Inner Brother-
hood — perceptively intense and consummately utter.
( The officers have some difficulty in maintaining their constrained
attitudes.)
Saphik, (In admiration.) How Botticellian ! How Fra An .
gelican ! O Art ! I thank thee for this boou !
Col. (Apologetically.) I'm afraid we're not quite right.
Ang. Not supremely perhaps, but oh so ail-but! — (To Sa-
phir.) Oh, Saphir,. are they not quite too ail-but?
Saph. They are indeed jolly utter.
Maj. (In agony.) What do the Inner Brotherhood usual!}
recommend for cramp?
Col. Ladies, we will not deceive you. We are doing this
at some personal inconvenience, with a view of expressing the
extremity of our devotion to you. We trust that it is not with-
out its effect.
Ang. We will not deny that we are much moved by this
proof of your attachment.
Saph. Yes, your conversion to the principles '»f ^Esthetic
Art in its highest development has touched us dep^v.
Ang, And if Mr. Grosvenor should remain obdurate —
Saph. Which we have every reason to believe he will —
Maj. (Aside, in agony.) I wish they'd make haste.
Ang. We are not prepared to say that our yearning hearts
will not go out to you.
Col. (As giving a word of command.) By sections of threes
— Rapture I (All strike afresh attitude, expressive of cestfietic
rapture.)
Saph. Oh, it's extremely good ; for beginners it's admirable.
Maj. The only question is, who will take who ?
Saph. Oh, the Duke chooses first, as a matter of course,
Duke. Oh, I couldn't think of it ; you are really too good !
Cgl. Nothing of the kind. You are a great matrimonial
prize, and it's only fair that each of these ladies should have a
chance of hooking you.
Duke. Won't it be rather awkward?
Col. Awkward? not at all. Observe : suppose you choose An-
gela, I take Saphir, Major takes nobody. Suppose you choose
Saphir, Major takes Angela, I take nobody. Suppose you choose
neither, I take Angela, Major takes Saphir. Clear as day 1
No 7. QUINTETTE — Angela, Saphir, Duke, Major, & Colonel
Allegretto. ^ ^ _£> , ^ _^_ ♦ ^
Piano.
P
3;
-4-
^
S
i
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u r
phir I choose To mar - ijr, I ihall be timed up for life ; Then the Col • 'nel need not
An • gy I de - ter - mine, At my wad - ding she 11 ap - pear Decked in di - a - mond and
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Major, ist verse.
r f
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ed. Sin - gk
m
tar
ry, An - ge - la can be
mine, Ma - jor then can take
his wife. In that
Sa - phir !
Colonel. 2nd verse. ^
an - pre • ce - dent
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In that case un - pre - ce - dent • ed, Sin - gle
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I shall live and die
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to be
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1 shall live and die
I shall have to be con • tent • ed With their heart • felt sym
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Angela.
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Major.
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Colonel.
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(handing Saphir to Colonel, and Angela to M v.i<>
roll.
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(At the end, Duke, Colonel, and Major and two girl*
dance off arm in arm.)
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{Enter Grosvenor.) Gros. It is? (Shaking his hand,) Oh, thank you! thana
you ! How can I express my gratitude?
Gros. It is very pleasant to be alone. It is pleasant to be Bun. By making a complete change at once. Your conver-
ible to gaze at leisure upon those features which all others may sation must henceforth be perfectly matter of fact. You must
gaze upon at their good will ! (Standing on bank of lake, and cu t, your hair. In appearance and costume you must be abso-
tooking at his reflection in the water.) Ah !" I .am a very Nar- lutely commonplace,
cissusl Gros. (Decidedly.) No. Pardon me, that s impossible.
Bun. Take care. When lam thwarted I am very terrible.
(Enter Bunthorne, moodily. His hair now resembles Grosve- Gros. 'I can't help that. I am a man with a mission. And
nor's— that is to say, it is lank instead of being bushy— and that mission must be fulfilled.
he has shaved his moustache.) ~ Bun. I don't think you quite appreciate the consequences of
^ T , , .. . . , . . thwarting me.
Bun. Its no use; I cant live without admiration .Since GKQg i don ' t ca re what they are.
Grosvenor came here insipidity has been at a premium. I will BuN Suppose— I won't go so'far as to say that I will do it-
show the world that I can be as insipid as he Ah, he is there ! but suppose) for 01ie m0 ment, I were to curse you ? (Grosvenor
Gros. Ah, Bunthorne! Come here ; look ! Is it not beau- ^fe.) Ah ! Very well. Take care!
™"' Gros. But surely you would never do that? (In great
alarm/)
(Bunthorne also reclines behind lake, so that the actions of both Bun. I don't know- It would be an extreme measure, no
are reflected in water.) doubt. Still—
Bun. {Looking in lake.) Which? Gms. ( Wildly.) But you would not do it— I am sure vou
Gros. ' Mine would not. (Throwing himself at Bunthorne s knees, and cling*
Bun.' Bah! " I am in no mood for trifling. {n 9 to him -) Oh, reflect! reflect! You4iad a mother- once?
Gros. And what is amiss ? ~ Bun. .Never!
Bun. Ever since you came here you have entirely monopolized t Gros - Then pu had an aunt ? (Bunthorne a/erferf.) Ah!
the attentions of the young ladies. I don't like it, sir. l 6ee vou had - Bv the memory of that, aunt I implore you to
vantages you can have.no idea of die inconvenience of beim? , ^n. W*"** "J"* a *<™??f «*** nimsecj.j i must not allow
madly loved, at first sight. myself to be unmanned I (Aloud.) It is useless. Consent- at
Bun. Sir, until you came here I was adored. once > or mav a nephew's curse—
Gros. Exactly— until I came here. That's my grievance; Gros - Hold! Are you absolutely resolved *
I cut everybody out! I assure you if you could only suggest ^ UN * 4^?J ute ^."
some means whereby, consistently with my duty to society, I couId~~~ Gr °3- Will nothuig shake you 7
escape these inconvenient attentions, you would earn my everlast--^" ^ U1 ^ Nothing. I am adamant!
ing gratitude. * ' -^ Gros. Very good. (Rising.} Then I yield ; I will comply
•with your wishes.
(Both rise and come dawn.) Buh. Ha I You swear it?
7 Gros* —I do, cheerfully. I have long wished for a reasonable
Bun. I will do so at once. You may be surprised to hear it, pretext for such a change as you suggest It has come at last ;
but, however popular it may be with the world at large, your I do it on compulsion!
personal appearance is highly objectionable to me. * Bun. Victory! I triumph!
116
No. 8.
DUET — Bunthorne & Grosvenor.
BUNTHORNE.
PtANO.
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(AH sigh - ing and bunt - ing, And cling - ing and yearn-ing) Will fol - low me as
be -
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fore. I i shall, with cul - tared taste,
Dis - tin £uish gems from paste,
And «• High did - die did - die " Will
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Grosvenor.
p
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A most in - tense young man,
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G«" OEVKNOR.
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soil- ful- eyed young man,
An ul - tra - po - e • ti - cal, su • per - aes • the - ti - cal, Out of the way young man !
Con
g— ! f ' , »
m
3
^=^=^3==^
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seal - ful- eyed young man,
An ul-tra-po- e - ti -cal, su- per -oes- the - ti - cal, Out of the way young man!
i
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ceive me, if you can,
An ev
'ry - day young man :
A com-mon-placetype, With a
P
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pip
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•tick and a pipe, And a half - bred black - and • tan.
Who 'thinks sub - ur • ban "hops,"
More
3
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— * —
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^ - '
m — - — * — * j-
firn than " Mon - day fops."
p ■^-i — ^r* i r ^^
- F ■ * ■
Who's
— ^ p^_
fond of
his
— ■* —
din •
-v — p—
ner, And
— ^^^ — i
i^ — i —
1 — ^ —
does -
n't
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get
thin-
ner On
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Grosvenor.
teE
bot - tied beer and chops.
A com - mon - place young man —
-* 1 K-
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i
BUNTHORNE.
— I
m
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A
Sp
4
A com • mon - pUce young man-
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mat - ter - of - fact young man —
A stea - dy and sto • lid - y, jol • ly Bank-ho • li • day, Ev • e * ry « day young
i
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mat- ter - of - fact young man —
~^-
A stea - dy and sto • lid - y, jol - ly Bank-ho • li - day, Ev • e • ry • day young
^
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roan !
i
(Dancing.)
m
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Ja - pa • nese young man —
\ blue and white young man —
Fran
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Gros. (Dancing,)
ces - ca di Ri-mi • ni, mi- mi • ny t prim - i - ny, Je -tu r sais- t/uoi young man
A l Chan-ce - ry Lane young
iftfc
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->» N * \-
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* i f * * ! — 0— *— '*— *.-=^=E
A 2 Som - er -^et House young man, —
ve. - ry de - lee - ta • ble, high - ly re - spec - la - ble
1
w
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1 1
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Bun. {Dancing.)
&-&-I w * w w
fr N * — I-
^=^
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^
•J - !» W
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^=
, Three-pen • ny - bus young man !
A pal - lid and thin young man—
A hag-gard and lank young man—
A.
$
Gros. (Dancing.)
> — * — N — (■
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f f
-J * J-
* v -
" K + u
green *e - ry- yal - le *- ry, Gros - ve - nor GaJ - le - ry t Foot - in - the-grave young man !
-^-P-
**—
A s Sew-ell and Cross young
fH;
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A 4 How - cli and James young man —
A push-ing young par - ti - cle— what's the next ai - ti - cle-
w
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■J- *
^
^ — J— ^ — 4-4
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Note. — * Chaocery-LsDe is where the lawyers' offices are located io Loodoo. * Som-
erset House is tbe Goveromeot offices, 8 , \ * Mean simply clerks cod Dec ted in thee*
booses, wbicb *re large dry-goods esiabllsbmeaU.
1*0
*
m
feg;
Grosvenor.
ljl i r " s i
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-0 — 0-
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fi Wa.*ter • loo House young man!
P
Con • ceive me, if
BUNTHORNE.
you am*
A mat • ter • of * fact young
-* — \~
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=^=
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Con - ceive me, if
you can,
A crotch »et • ty, crack'd young
EP^i
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Bun. It is all right 1 I have committed my last act of 111-
oature, and henceforth I'm a reformed character. (Dances
•bout stage, humming refrain of last air.)
(Enter Patience. She gazes in astonishment at Aim.)
Pat. Reginald! Dancing! And — What in the world
us the matter with you ?
Bun. Patience, I'm a changed man. Hitherto I've been
gloomy, moody, fitful — uncertain in temper and selfish in dis-
position.
Pat. You have indeed! (Sighing.*)
Bun. All that is changed. I have reformed. I have mod-
elled myself upon Mr. Grosvenor. Henceforth I am mildly
cheerful. My conversation will blend amusement with instruc-
tion. I shall still be aesthetic, but my aestheticism will be of the
most pastoral kind.
Pat. Oh, Reginald ! Is all this true?
Bun. Quite true. Observe how amiable I am. (Assuming
a fixed smile.)
Pat. But, Reginald, how long will this last?
Bun. With occasional intervals for rest and refreshment, as
long as I do.
Pat. Oh, Reginald, I'm so happy ! (In his arms). Oh dear,
dear Reginald ! I cannot express the joy I feel at this change.
It will no longer be a duty to love you, but a pleasure, a rap-
ture, an ecstasy !
Bun. My darling!
Pat. But — Oh, horror! (Recoiling from JUm.)
Bun. What's the matter.
Pat. Is it quite certain that you have absolutely reformed —
that you are henceforth a perfect being, utterly free from defect
of any kind ?
Bun. It is quite certain. I have sworn it !
Pat. Then I never can be yours !
Bun. Why not?
Pat. Love to be pure, must be absolutely unselfish, and
there can be nothing unselfish in loving so perfect a being as
you have now become!
Bun. But stop a bit 1 I don't want to reform — I'll relapse—
I'll be as I was —
Pat. No ; love should purify — it should never debase.
Bun. But I assure you, I — Interrupted !
(Enter Grosvenor, followed by all the young ladies, who are fol-
lowed by ehorus of Dragoons. He has had his hair cut, and
is dressed in an ordinary suit of dittos and a pot hat The
young ladies wear modern dresses. They all dance cheerfully
round the stage, in marked contrast to their former languor.)
No.
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We're pret - ti - ly pat - tet - tag,
- t5UN. Angela! Ella! Saphir ! What — what does this mean ?
— Ang. It means that Archibald the All Right cannot be
wrong ; and if the All Right chooses to discard sestheticism, it
proves that sestheticism ought to be discarded.
Pat: Oh, Archibald ! Archibald! I'm 9hocked! surprised I
horrified !
Gros. I can't help it ; I'm not a free agent. I do it on com-
pulsion.
Pat. This ia terrible. Go I I shall never set eyes on you
again. But — Oh joy!
Gros. What is the matter ?
Pat. Is it quite, quite certain that you will always be a com-
monplace young man ?
Gros. Always ! I've sworn it
Pat. Why, then, there's nothing to prevent my loving you
with all the fer^r at my command !
Gros. Wh>, that's true.
Pat. My Archibald !
Gros. My Patience! {They embrace.)
Bun. Crushed again.
{Enter Jane.)
Jake (who is still (Esthetic). Cheer up! I am still here. I
have never left you, and I never will !
Bun. Thank you, Jane. After all, there is no denying it,
you're a fine figure of a woman !
Jane. My Reginald !
Bun. My Jane ! {Embrace.)
{Flourish. Enter Colonel, Duke, and Major.)
Col. Ladies, I have great and glorious news for you. The
Duke has at length determined to select a bride, {General
excitement.)
Duke. I have a great gift to bestow. Approach, rach of
you as are truly lovely. {All come forward bashfully except Jake
and Patience.) In personal beauty you have all that is necessary
to make a woman happy. In common fairness, I think I ought
to choose the only one among you who has the misfortune to be
distinctly plain. ( Girls retire disappointed.) Jane I
Jane. {Leaving Bunthorne's arms.) Duke ! ( Jake <wid
Duke embrace. Bunthorne is utterly miserable.)
Bun. Crushed again.
Finale.
Duke. After much debate internal
I on Lady Jane decide ;
Saphir now can take the Colonel,
Angy be the Major's bride.
NOTK.
4 Wells and Madame Louiae are lar^e millinery establishments.
AlttgretU. ^ . ^ '
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[27
(Safhir pairs off with Colonel, Angela with Major, Ella
with Solicitor. Patience, of course, has paired with Gros-
; venor.)
Bun. In that case unprecedented.
Single I must live and die ;
I shall have to be contented
With a tulip or li/y.
{Takes a lily from buttonhole and gazes affectionately at iL)
All.
He will have to be contented,
With a tulip or lify /
Greatly pleased with one another,
To get married we decide 1
Each of us will wed the other,
Nobody be Bunthorne's bride 1
General Danck.
CURTAIN.
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